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Sunday Monday Tuesday Wednesday Thursday Friday Saturday sunday monday tuesday wednesday thursday friday saturday KIDS MATINEE SUN 1PM NOV 23 NOV 24 & 25 (7:10 & 9:00) KIDS MATINEE SAT 1PM FLIPPED (7:10 & 9:00) NOV 26 & 27 (3:00 matinee & 7:10 & 9:00) CHARLOTTE’S WEB NOV 21 (3:00 & 7:00) CHILDREN NOV 22 (7:00 only) WINDS OF HEAVEN OF HEAVEN Director: Michael Ostroff (Canada, 2010, 87 min; DVD) 2012: SCIENCE OR Director: Majid Majidi This is a must-see - possibly one of the best films ever made about our province, these (Iran, 1997, 88 min; forests, and our history as newcomers. Few of us were as sensitive as Emily Carr, SUPERSTITION Persian with subtitles; DVD; PG) and no one has interpreted this place more profoundly in their art. Hats off to direc- Director: Nimrod Erez (USA, 2009, 78 minutes; DVD) tor Michael Ostroff, cinematographer John Walker, and everyone involved in this project; Iranian writer/director Majid Majidi’s splendid, won- it is, for us, a very important story well-told, and surely for everyone, a sight to behold. December 21, 2012: the end date of the sophisticated derfully shot film is from a child’s point of view. When Subtitled Emily Carr, Carvers, and the Spirits of the Forest, the project was to make “a Long Count Calendar created by the ancient Maya Ali loses his sister Zahara’s just-mended sneakers, filmic journey into the deep brooding mystery and inner beauty of Emily Carr’s paintings - a lyri- in Central America. Countless books and websites, the two siblings must share one ratty pair of canvas cal, luminescent and entertaining impression of the life of Carr and her connection to the First magazine articles and newspaper headlines debate running shoes without alerting their poor parents to Nations people of the Northwest Coast.” Shot in Super 16mm film in Haida Gwai, Victoria and its meaning, with enthusiasts in two camps: those their plight. The premise is deceptively simple, as this Vancouver, details of Carr’s paintings are folded into haunting images of our coastal landscapes, forecasting apocalypse–the end of time–and those film about children navigating through an adult world and fresh archival material. On a cinema screen, there is a spiritual intensity in the bright fau- who see a coming renewal, a rebirth of conscious- gradually begins to take on a more socioeconomic vist extravagance emerging from the deep, dark and often wet shadows. This is indeed British ness. Adding fuel to the debate, some scientists see meaning. Majidi uses the quest for shoes to reveal Columbia, but as reflected in critical - not promotional - eyes. As Carr wrote in 1940, “Perhaps the increasing number of natural disasters in recent the wide class gap in contemporary Tehran and I shall never do anything beyond my Indian stuff because it stuck in my vitals when I was years as evidence of a catastrophic climax of events masterfully balances the serious subtext with enter- freshly maturing into young womanhood and my senses were keenly alert. The ever-growing in 2012. How much of what we’re hearing is science taining vignettes. While it is as bright and well-paced universe called to the fast-developing me. The wild places and primitive people claimed me.” and how much is superstition? In this film the lead- as the best Disney films—a poetic shot of a boy’s Incisive commentary by art historians Gerta Moray and Susan Crean, art critic Marcia Crosby and ing researchers, writers and scientists in the field tell us exactly what this date means to them, why it’s blistered feet soaking in a glistening goldfish pond is museum curator Laurel Smith Wilson, represents in person the interweaving of aboriginal and important, and what we should expect. Featured in the film are Graham Hancock, John Major Jenkins, particularly magical—Majidi avoids easy sentimen- Western sensibilities that the film dramatizes. –Vancouver International Film Festival Daniel Pinchbeck, Alberto Villoldo, Anthony Aveni, Robert Bauval, Jim Marrs, Walter Cruttenden, tality. –The Onion AV Club “It glows with a kind of Lawrence E. Joseph, Alonso Mendez, Douglas Rushkoff, John Anthony West and Benito Vegas good-hearted purity.” –Roger Ebert Presented in partnership with the Maltwood Art Museum and Gallery. Limited edition prints Duran. The producers attempted to interview experts who address the issues from varying and some- of Emily Carr’s 1939 painting Happiness ($60, tax included) will be on sale in the lobby. times conflicting perspectives. The goal was to present the viewer with a balanced look at the 2012 SPOTLIGHT ON IRAN sponsored by the Middle East/ phenomenon. –Disinformation Company Islamic Consortium of B.C. Sponsored by OPEN CINEMA www.opencinema.ca KIDS MATINEE SUN 1PM NOV 30 DEC 1 & 2 (7:00 & 9:10) DEC 3 & 4 (3:00 matinee & 7:15 & 9:20) KIDS MATINEE SAT 1PM ELF CHARLOTTE’S WEB (7:00 & 9:15) WAITING FOR IT’S KIND NOV 28 THE WIND OF A FUNNY STORY (3:00 matinee & 7:00 & 9:15) SUPERMAN WILL Director: Davis Guggenheim Directors: Ryan Fleck & Anna Boden NOV 29 (7:00 & 9:15) (USA, 2010, 112 min; rated G) (USA, 2010, 102 min; PG) CARRY US Exhilarating, heartbreaking and righteous, “A PERFECT COMING-OF-AGE COMEDY! An LET ME IN Director: Abbas Kiarostami (Iran, 1999, 118 min; Waiting for Superman is also a kind of unpredictable grab-bag of funny, tender, ironic, Director: Matt Reeves Persian with subtitles; DVD) high-minded thriller: Can the American edu- insightful, poignant hopeful moments that keep (USA, 2010, 116 min; 14A) surprising you!” –Los Angeles Times PALME D’OR WINNER! Cannes Film Festival cation system be cured? Can it be made “ONE OF THE YEAR’S MOST POWERFUL It concerns an engineer who travels to Kurdistan globally competitive? Can it, at least, be THRILLERS!” –Hollywood Reporter made educational? Davis Guggenheim’s epic Zach Galifianakis is not the lead in the latest film from Tehran to work on a project which is never from co-directors Ryan Fleck and Anna Boden specified. He is a silent, mysterious character who assessment of the rise and fall of the U.S. “THE SCARIEST, CREEPIEST AND MOST school is a bucket of ice water in the face (Half Nelson, Sugar), but he’s the most affecting befriends a young schoolboy and wanders about the figure as Bob, a mental-ward patient who takes a ELEGANTLY FILMED HORROR MOVIE countryside in his jeep. In lesser hands than Abbas of politically motivated complacency. What I’VE SEEN IN YEARS!” –New York Post Guggenheim brings to his documentaries teenage new arrival under his wing. High-achieving, Kiarostami’s, The Wind Will Carry Us would be thin, stressed-out, 16-year-old Craig (Keir Gilchrist) finds yet the director’s imaginative camera work and fluent (An Inconvenient Truth, It Might Get Loud) “BY FAR, ONE OF THE BEST-LOOKING FILMS OF THE YEAR!” –Austin Chronicle himself committed for a mandatory five-day stay editing manage to sustain his defiantly anti-narrative are an agile, cinematic eye, a sense of rhythm and fluidity, and an awareness that unpalatable information has to be delivered with a side order of humor. The information presented here is sobering. The monetary after confessing to suicidal thoughts, setting off Fans of Let the Right One In can relax. Cloverfield director Matt Reeves hasn’t ruined the elegant offering, in which he also captures the rich, yellow a young-adult variation on One Flew Over the beauty of the cornfields and the intense blueness of waste caused by poor schools is just one item; the unfulfilled potential, social disintegration and genera- Swedish vampire story by remaking it. If anything, he’s made some improvements, including the addi- tional failure are mourned throughout. And it’s the arrogance of so-called educators that comes under Cuckoo’s Nest. Craig quickly comes to real- tion of a tense action-horror sequence in the middle of the film. While all that is artful about Let Me In the skies. Behzad Dourani is successful at capturing ize he’s not nearly as messed up as many of his the engineer’s ambivalence: one moment aloof, the Guggenheim’s withering moral/intellectual assault. And yet, the film is never less than buoyant, thanks comes straight from the original, the Hollywood version commands respect for not dumbing things down. largely to the dedicated and effective teachers on whom Guggenheim focuses. The title comes from edu- cohabitants, who include the cute girl with wrist Relocated from an icy burb outside Stockholm to equally chilly Los Alamos, New Mexico, Let Me In offers next warm. A powerful, mesmerising film where the scars (Emma Roberts, who’s quite good). Fleck surface details are redolent with meaning. –BBCi cational reformer Geoffrey Canada, of the Harlem Children’s Zone: Canada recalls thinking as a boy that, teenage misfit Owen (Kodi Smit-McPhee, The Road) a chance to avoid growing up – which doesn’t involve somehow, Superman would arrive in the South Bronx and save him. WFS has a pacing, rhythm, mix of and Boden point out the absurd humor inherent being bitten or becoming a vampire himself. Instead, John Ajvide Lindqvist’s novel suggests an arrange- in mental illness without trivializing its causes or SPOTLIGHT ON IRAN sponsored by the Middle East/ media and sense of human connection that keep it engaging and, at times, very, very moving….The film ment in which a young girl, (Chloe Grace Moretz, Kick-Ass) suspended forever at age 12, seeks devoted consequences. It’s largely thanks to Galifianakis’ Islamic Consortium of B.C. also addresses very possible solutions and the kinds of people who can apply them; as such, it’s a movie caretakers who accompany her as she moves from city to city, feeding on human blood.
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